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Voci di Celan: arca degli elementi
No full textCelan’s Voices: An Arch of the Elements · Celan is too often cited as a poet of silence. But he can
be read and heard as a composer of voices out of destruction. This essay proposes a reading of the cycle
entitled Voices by Paul Celan as a set of polytextual motets constructed «a cappella» and performed in
the devastated theater of the world. Each voice is diferent, but elements of repetition and variation
weave the voices together, leaving them always distinguishable. Celan’s musicality does not descend from
harmony but explores, developing them, the possibilities of composing (in the ways of entwining, weav-
ing, taking in, collecting, repeating) what is disparate and scattered, residual and karst, damaged and no
longer fgured
Grammatica degli spettri. La poetica reticolare e relazionale di Ulrike Draesner.
No full textA Grammar of Ghosts. Ulrike Draesner’s Reticular
and Relational Poetics
In my contribution, I take up some questions raised in Alessandro De Francesco’s essay The Ontologi
cal Spectrum, which opens the first part of issue 70 of «Semicerchio», already dedicated to text-nature,
the poetics of the hyperobject and «post-apocalyptic» poetry, and put them into dialogue with some of Ulrike Draesner’s theoretical lines, expressed in her lectures on poetics published under the title Grammar of Ghosts. In particular, I bring together themes dealt by De Francesco such as the critical redefinition of the so-called ‘lyric self’, to be understood as «part of a network that transcends its subjectivity», «ontologically not separated» in its «substance» from other subjects and objects; the self and the text rethought as evolutionary products of the same substance that appears as a manifestation of nature, according to different degrees of intensity; the text as a complex entangled system, interrelated with
other systems; the possibility of looking at the functioning of such systems in their instability and dependence on their surroundings; the dialogue with science and philosophy, and poetry’s ability to expand our spectrum of perception of the world through «knowledge without understanding». The essay refers to figures of thought in contemporary science, from the theories of complexity and non-locality to quantum physics, linked to the relational and reticular poetics expressed by Ulrike Draesner in her theoretical writings and artistic practice
Ricercar per verba. Paul Celan e la musica della materia
No full textFifty years after Paul Celan's death and a hundred years after his birth, the study of archival sources allows for a revision of
the myth of a poet who is represented on the edge of mutism, or instead as the depositary of a redeeming word from absolute evil.
absolute evil. Writing from the horrors and ruins of the twentieth century becomes even more meaningful if we grasp the wide field of relations that is the cosmos.
of relations that is Celan's universe. His is the polyphony of an 'other' German, in which many other languages are conglomerated
conglomerated - a German hurled against the language of murderers.
In a perpetual search for reality and its singable remains, Celan reverberates with the rhythm and forms of the world, jotting down books on geology, astronomy and the history of the world.
of geology, astronomy, quantum physics, botany; consulting dictionaries, newspaper articles, philosophical and literary works.
Crossing the territories of nature furthest removed from man - stones, crystals, sediments and geological faults; sidereal and cosmic spaces - he creates a morphology of the world.
and cosmic spaces - he creates a new morphology, without origin, in continuous transformation. He restores life to what is past, he gives name and
gives name and voice to bodies of which only the imprint or the halo remains for the time of a poem or a song. The musical forms,
also fragmented and fossilized, become the aggregating force of exploded matter.
Ricercar is the title of this book, like that of a poem that Celan did not want to publish. It takes up a contrapuntal
It takes a contrapuntal musical form that interweaves the voices and notes of others without repeating them identically, thus opening the gap between past-present-future.
present-future. The structures of the European, Jewish and Christian musical tradition are damaged but recognisable scaffolding for the poet.
but recognisable scaffolding, and contain the residual matter of the world.
Celan is not at all 'hermetic': he keeps the relationship with himself and his readers open.
His poetry, which owes so much to Mandel'štam's Dante, does not pursue the "trasumanar", but makes possible the pace, the
rhythm of those who - punctus contra punctum - string together shadow-light, death-life, silence-voice, stone-water, sky-abyss,
in scores that do not form harmonies, but give rise to resonances between things, people (even extinct) and traces in the present.
(even extinct) and traces in the present. The gait of someone who "per verba" searches for the music of matter
Dalla «candida rosa» alla «rosa di niente, di nessuno».Paul Celan legge Dante
No full textFrom «candida rosa» to «rosa di niente, di nessuno». Paul Celan reads Dante
The numerous annotations Celan left on his editions of Dante’s works and
on his personal papers testify to the intensity with which he read Dante through
out
his life, and show how reading Dante generated a creative momentum in
his own writing. The essay discusses the reasons behind Celan’s decision not to
publish poems of unequivocal Dantesque inspiration and argues this may be due
to his desire to avoid the recurrent perusal of the idea of “Hell” associated with
the extermination camps. Celan, on the contrary, in the wake of Mandel’.tam, is
interested in Dante’s entrance in a space that is both geographical and poetic, in
his polyphonic ear, and in longing for light and life and love – to constrast dark
ness and silence and death. Celan believes this can only be experienced through
cracks and ruptures, not as light born through harmony; yet his notes also bear
witness to his continuous quest for it
Dietary plant products and human health. New evidences about the effects on degenerative diseases
No full textZone di genesi: (Zanzotto-Celan-Waterhouse)
No full textSaggio sulla contiguità delle poetiche di Zanzotto, Celan e Waterhouse. Si concentra sull' intreccio tra consapevolezza storica e presenza nel testo, in una stratificazione, di suoni, voci plurali e polifoniche (diversi codici, diverse lingue). Centrale per i tre autori l'idea di poesia e lingua di e in movimento)
Il V.A.R.A.: caratteristiche metrologiche della scala e rilievi differenziali nella valutazione dell'atteggiamento verso l'alcol
No full text
Il questionario multidimensionale per adolescenti (QMA): un questionario per la valutazione dei fattori di personalità, cognitivi e motivazionali associati ai comportamenti a rischio.
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